For generations, the technological development of the media has changed human behavior, both for the better and for the worse. From having to buy everything in a store to being able to shop through a live-stream. The problem, however, is that there is a lack of research that has touched on this in the Nordic countries. Especially studies that have touched it in a media archeological aspect. In this thesis, I have analyzed liveshopping as a medium by comparing it with TV-shop. This has been done with the help of media archeology/-ecology as a theoretical and methodological framework. Furthermore, the theory has supplemented with the help of remediation and affordance. Together, they form a theory package that complements each other in the thesis' purpose of examining the medium's properties and design, its environment and how it contributes to the individual's behavior. The analysis of the media has been complemented by the multimodal tools. The material consists of seven broadcasts from TVG (TV-shop) and liveshopping-streams from Lyko, Samsung, MQ MARQET and Lensway The result indicates a change in consumer behavior. During the TV-shop we had a behavior of not shopping from home. Which is proven in the media's attempt to attract viewers with cheap prices on the products. In today's liveshopping, reduced prices are not as common. Due to the fact that the audience actively went into the live-stream, it indicates that they do not necessarily watch the broadcast to be able to buy products at cheaper prices. The technological changes of the media have made possible changes in society through our way of consuming and interacting with the content from companies.

My dissertation focuses on the notion of “gesture” as a somatic manifestation of psychological experience. This view of movement was elaborated by late 19th-century psychologists, who gave up the metaphysical notion of the soul in favor of neuro-physiological approaches to behavior. My study shows how the new scientific discourse penetrated into a broader cultural sphere, generating wide interest in the question how the body participates in and reflects affective and cognitive processes. I examine the modes of recording, representing and interpreting body movement as “expressive.” Based on archival materials and periodicals, I chart out avenues by which the ideas and methods of physiological psychology reached artists and writers – a task, which involves evaluating institutional practices and cultural-political trends that promoted interdisciplinary engagements. Ultimately, my study demonstrates how scientific discourse transformed techniques of film acting, prompted film industries’ inquiries into spectators’ physical reactions, and spurred literary scholars’ investigations of poets’ intonation and body movement. Yet, rather than positing the direct influence of science, I attend to a variety of ways in which writers and artists reinterpreted, defamiliarized and resisted the positivist outlook brought forward by physiological psychology. In Chapter 1, I show how Viktor Shklovskii drew on William James’s theory of the corporeal experience of emotion and Wilhelm Wundt’s ideas on the gestural origin of language to discuss Russian Futurist poetry as a “ballet for the organs of speech.” Chapter 2 analyzes Boris Eikhenbaum’s essays on poetic declamation by placing them in the context of the Petrograd Institute of the Living Word. In this organization, Russian Formalists worked alongside speech therapists and psychologists, using parlograph records of poetry performances. I compare their methods of registering poetic intonations to similar endeavors by American phoneticians Edward Scripture and R.H. Stetson. Chapter 3 traces the origins of Lev Kuleshov’s system of film actors’ training, arguing that his ideas emerged at the juncture of avant-garde theater, Pavlovian reflexology, and labor efficiency movement. Chapter 4 considers psycho-physiological approaches to film spectatorship, focusing on American and Soviet efforts to assess the emotional responses of filmgoers by photographing their facial reactions and registering changes in their vital signs.

Media Archeology and New Media Temporality Mgr. Čeněk Pýcha Abstract This master thesis focus on the relationship between digital technologies and the concepts of our society about the past. There are defined methodological approaches of media archeology in the first part, this approaches are used like the tool for research of media temporality in the next parts. The methodological approach is applied in the empirical based case studies in the second part. The first case study researches the digital archives of testimonies of witnesses and the concepts of time that are created by these archives. The second empirical case study focuses the ways of photographs that documented holocaust, in the social media, especially on Pinterest. In the conclusion, the master thesis is assigned like the part of contemporary debates about the concepts of the past. Keywords: Digital media, memory, media archeology, time, cultural techniques

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Made available in DSpace on 2016-04-26T18:15:25Z (GMT). No. of bitstreams: 1 Nadia Maria Lebedev Martinez Moreira.pdf: 4678006 bytes, checksum: 73d01e7fc9a37307118ccc3bbf867acb (MD5) Previous issue date: 2015-12-11 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The research aim to establish a direct relationship between its subjects, the Oracle and the Media. The main hypothesis is that the media has an oracular character. This reflection seems to be new within the Media Theory studies, and speculates that the future has a present event status. The oracles, or oracular character figures, when performing their predictions, design the future in the present, building scenarios that guide both the individual in his private life, as the society as a whole. The adopted methodological strategy sought to develop an archeology of the oracles in the West - especially the Oracle of Delphi, given its importance to the emergence of Western civilization and its institutions, including the media itself understanding them as backers of information, also a defining characteristic of the media. Researches concepts proposed by the Theory of Media in the reflections of Norval Baitello, Harry Pross and Flusser. Anxiety about the future is read from Soren Kierkegaard and Carl Gustav Jung. Within the concept of cultural anxiety Rafael Lopez-Pedraza, thinks the relationship of individuals and society in the future, this relationship also studied by Julian Jaynes in his deconstruction of the bicameral mind. Also Norbert Elias, who investigates what he calls a society of individuals. The hypothesis is tested trough media examples that analyze topics such as the economic crisis brought by the US housing bubble; Brazilian water crisis in 2015; and predictions about games results in sporting championships / A pesquisa procurou estabelecer uma relação direta entre seus objetos de estudo, o Oráculo e a Mídia. A hipótese principal é que a mídia possui um caráter oracular. Essa reflexão parece ser nova dentro dos estudos da Teoria da Mídia, e especula sobre o futuro como um estado de acontecimento presente. São os oráculos, ou de figuras de caráter oracular, que ao realizarem suas previsões, projetam o futuro no presente, construindo cenários que orientam tanto o indivíduo em sua vida particular, quanto à sociedade como um todo. A estratégia metodológica adotada buscou elaborar uma arqueologia dos oráculos no Ocidente principalmente do Oráculo de Delfos, dada sua importância fundante para o surgimento da civilização Ocidental e de suas instituições, entre elas, a própria mídia , entendendo-os como veiculadores de informações, característica também definidora do midiático. A pesquisa estuda conceitos propostos pela Teoria da Mídia nas reflexões de Norval Baitello, Harry Pross e Vilém Flusser. A angústia com relação ao futuro é lida a partir de Soren Kierkegaard e Carl Gustav Jung. Com o conceito ansiedade cultural de Rafael Lopez-Pedraza, pensa-se a relação dos indivíduos e da sociedade com o futuro, relação essa estudada também em Julian Jaynes com sua desconstrução da mente bicameral. Além de Norbert Elias, que investiga o que ele mesmo denomina de sociedade dos indivíduos. A hipótese é testada a partir de exemplos midiáticos que analisam temas como a crise econômica instaurada pela bolha imobiliária americana; a crise hídrica brasileira em 2015; e previsões feitas sobre resultados de jogos em campeonatos esportivos

Cette version de la thèse a été tronquée des éléments de composition originale. Une version plus complète est disponible en ligne pour les membres de la communauté de l’Université de Montréal et peut aussi être consultée dans une des bibliothèques UdeM. / Les rapports entre le nouveau, l’ancien, l’imaginaire et le présent sont des vecteurs pour la créativité. La compréhension et le développement de projet créatif liés à des médias obsolètes, imaginaires ou futuristes, offrent à de nombreux artistes la possibilité de développer une expression personnelle ancrée dans un rapport techno-esthétique qui peut être porteur de multiples sens, que ce soit d’un point de vue social, environnemental, technologique ou formel. Ce projet de recherche est consacré à la création audiovisuelle reposant sur une pensée archéomédiatique. En premier lieu, je présente le cadre théorique et conceptuel qui a mené à la création de mes œuvres au cours de cette période doctorale. J’y relate l’exploitation d’une hybridation entre nouvelles et anciennes technologies servant à développer un langage audiovisuel puisant dans l’archéologie médiatique. Puis, dans le deuxième chapitre, j’expose l’approche compositionnelle derrière mes œuvres. Dans le troisième chapitre, j’aborde l’aspect sensoriel de mon processus de création, expliqué à travers une série de relations multimodales telles que les rapports de luminosité, de densité, de mouvements, de relief, d’espace et de textures, entre le son et l’image. Pour terminer, j’introduis la notion novatrice de texture stéréoscopique : une forme de texture optique qu’il est seulement possible de percevoir avec un média tridimensionnel. / Relationships between the new, the old, the imaginary, and present time, have always been vectors for creativity. The understanding and development behind creative projects in regard to obsolete, imaginary or futuristic media, have offered many artists ways of expressing themselves in a techno-aesthetic containing multiple meanings, whether from a social, environmental, or technological point of view. This research project is devoted to audiovisual creation based on media-archeological thinking. Firstly, the theoretical and conceptual framework that led to the creation of my works during this doctoral period are presented. I will discuss the exploitation of a hybridization between new and old technologies used to develop an audiovisual language drawing on media archaeology. The second part will present the compositional process behind my works. The third part deals with the sensory aspect of my creative process, explained through a series of cross-modal relations such as luminosity, density, movement, relief, space and texture, between sound and image. Lastly, I will introduce the novel notion of stereoscopic texture: a form of optical texture that can only be seen through a three-dimensional medium, thus finding something new in the old.

En tant que phénomène social, le sacré se manifeste à partir d'un médium, de sorte que la sacralité est conditionnée par les matérialités. L'émergence d'un nouveau médium signifie ainsi l'apparition de nouveaux imaginaires mystiques. Ce travail de recherche s'interroge donc sur les aspects mystiques de l'imaginaire contemporain dévoilés par les médias et les réseaux numériques. Notre stratégie de recherche consiste, dans un premier temps, à engager une approche archéologique des médias, examinant trois différents objets en tant qu'artefacts mystiques : l'écriture, la relique et l'électricité. Cette approche, en s'intéressant à la façon dont chaque médium engendre une fantasmagorie différente, illumine la compréhension de l'imaginaire mystique découlant d'un habitat stratifié en multiples couches. Ensuite, nous examinons certains aspects de la mystique numérique à partir de l'opposition de deux régimes d'imaginaire provoqués par deux écologies matérielles. Premièrement, à l'époque du PC et des interfaces informatiques, il y a l'émergence d'un imaginaire mystique transcendant, cristallisé dans l'image du cyberespace et caractérisé par un nouvel angélisme. Deuxièmement, avec l'introduction des réseaux sans fil et des dispositifs mobiles, l'image d'un environnement réticulaire animiste caractérisé par un retour du paganisme se renforce. Une des formes de cet imaginaire mystique immanent est le technochamanisme, notre terrain de réflexion pour comprendre l'actuel réenchantement du monde marqué par la synergie entre la technique et l'archaïque. / The sacred, as a social phenomenon, manifests from a medium, so the sacredness is conditioned by materialities. The emergence of a new medium means, consequently, the emergence of new mystical imaginaries. This research examines the mystical aspects of the contemporary imaginary unveiled by the media and the digital networks. Our research strategy consists, at first, of engaging a media archaeological approach, examining three different objects as mystical artifacts: the writing, the relic and the electricity. This approach, by focusing on how each medium engenders a different phantasmagoria illuminates the understanding of mystical imaginary arising from a habitat constituted of multiple strata. Then we examine some aspects of digital mysticism from the opposition of two regimes of imaginary caused by two material ecologies. Initially, in the era of PC and computer interfaces, there is the emergence of a transcendent mystical imaginary crystallized in cyberspace image and characterized by a new otherworldliness. Afterwards, with the introduction of wireless networks and mobile devices, the image of a reticular animist environment characterized by a return of paganism is strengthened. One form of this immanent mystical imaginary is the technoshamanism, our field of reflection to understand the current re-enchantment of the world marked by the synergy between technology and archaic. / Enquanto fenômeno social, o sagrado manifesta-se à partir de um medium, de modo que a sacralidade é condicionada pelas materialidades. A emergência de um novo medium significa, assim, o surgimento de novos imaginários místicos. Este estudo interroga-se, portanto, acerca dos aspectos místicos do imaginário contemporâneo desvelados pelos media e redes digitais. Nossa estratégia de pesquisa consiste, em um primeiro momento, em mobilizar uma perspectiva arqueológica dos media, examinando três diferentes objetos como artefatos místicos: a escrita, a relíquia e a eletricidade. Essa abordagem, interessando-se à maneira pela qual cada medium engendra uma fantasmagoria diferente, ilumina a compreensão do imaginário místico resultante de um habitat estratificado em diferentes camadas. Em seguida, examinamos certos aspectos da mística digital a partir da contraposição de dois regimes do imaginário provocados por duas ecologias materiais. Inicialmente, na época do PC e das interfaces informáticas, há a emergência de um imaginário místico transcendental, cristalizado na imagem do ciberespaço e caracterizado por um angelismo renovado. Posteriormente, com a introdução das redes sem fio e dos dispositivos móveis, a imagem de um ambiente reticular animista caracterizado por um retorno do paganismo se reforça. Uma das formas deste imaginário místico imanente é o tecnoxamanismo, nosso campo de reflexão para compreendermos o atual reencantamento do mundo caracterizado pela sinergia entre a técnica e o arcaico.